I Want to Learn How To Program

[cc333]

I'm sorry that happened. I think all of us would have advised you to dust yourself off and get right back on the horse---to find another outlet in radio for your energy and talent.

So am I. I probably would've been more eager to continue, but since I was having some health troubles at the time, it worked out better to just leave it to rest. My dream was, to some extent, fulfilled, so I could move on, maybe to come back to it later. My main goal at the time (mid 2010), though, was to recover and graduate from Mendocino College (you probably know it, it had been in existence for about 3-4 years when you came to KUKI).

Thankfully, my health condition went into remission in 2011 (and I was fully recovered from it by '13 or so) and graduated in 2019, but I hadn't thought about radio until about a year into the pandemic, because I was bored out of my mind with nowhere to go and no one to see. Then several hours of reminiscing and poring through Part 15 broadcasting literature reignited that spark somehow.

And here I am.

What you've described here will sound familiar to a great number of people who went into broadcasting as a career. We had that same fascination with what we heard on the radio, and experimented with home intercoms, tape recorders, walkie-talkies, whatever.

Interesting. Maybe I missed my calling!

I decided back when I started college that EE might be a good major, since I also like to tinker with computers and electronics. But after being demoralized by the pandemic and a string of bad teachers, I've been questioning that path because, frankly, I'm not really sure my heart was ever fully into it (EE seems more academic than I'd like; I'm very hands on).

Anyway...

Whether it's what K.M. meant by "instinct", it suggests you have what we used to call "good ears"---the ability to hear songs people like and create sets of music, or an entire station, based on the flow and appeal of the music.

OK. All through my music and recording arts classes, everyone kept telling me how good my ears were. The instructor even suggested that I might have perfect pitch.

A cautionary note, though: If people know they're talking to the person who put something together, they tend to be polite.

Yes, that's a good point. When I talk to people, I tell them to be honest with me because being polite isn't helpful.

There are two aspects to Dunning-Kruger. The other involves highly talented or skilled persons who underestimate their abilities.

That's me. I'm always underestimating myself and my abilities.

Not only was I bad on the air, I was initially scared of the microphone. I would literally shake all over, afraid to do something awful.

I freeze when I'm in front of a live mic. I go mute and can't talk.

It's probably something that I could overcome if I ever needed to, but that need has never come up, so...

I mentioned that I found enormous value in being on the air. Part of it is knowing whether what I'm expecting the jocks to do is reasonable, practicable and makes sense in the real-world context of the radio station.

If I had an idea about formatics, mechanics, tone, flow---I'd be the one to break existing format, try it out on my show and see if it was a good idea or not.

Bonus points: If it was a good idea, I knew how to perform it and could actually play it for them instead of describing it verbally and putting the pressure on them to figure it out.

I could be open to doing that off air, as a demonstration. That would probably help me to overcome my fears. Baby steps...

I have some thoughts on practicality, but let's wait until you've talked about your feelings about the business side first.

OK. I feel kind of apprehensive about the business side and I'm not sure I want to be a part of any of it because it seems so daunting. However, to be honest, I won't know anything about it until I've done it, so perhaps with a little bit of experience, I'll find it's not as bad as I think? Or maybe worse? I can't know until I try!

I'm interested in your thoughts on practicality. What I want to do re: format likely isn't practical or viable in the commercial world, but perhaps as a non-com, listener supported type of thing, it can make more sense.

c

 

[michael hagerty]

OK. I feel kind of apprehensive about the business side and I'm not sure I want to be a part of any of it because it seems so daunting. However, to be honest, I won't know anything about it until I've done it, so perhaps with a little bit of experience, I'll find it's not as bad as I think? Or maybe worse? I can't know until I try!

I'm interested in your thoughts on practicality. What I want to do re: format likely isn't practical or viable in the commercial world, but perhaps as a non-com, listener supported type of thing, it can make more sense.

c

Given what you've mentioned before about what you're doing with your Part 15, I think it's a safe bet that this isn't viable commercially.

I think your best move, with the lowest risk, is to keep doing that and solicit comments---not so much "do you like this?" as "if we could get a signal, would you support this through donations?".

Start making friends at all the smaller non-comms in the area and ask about the costs of operations.

Getting your own non-comm is a long road. You might want to see if there's an existing non-comm that has a few hours a week that they'd be willing to let you program.

 

[cc333]

Given what you've mentioned before about what you're doing with your Part 15, I think it's a safe bet that this isn't viable commercially.

No, probably not. I think it could be modified to be at least somewhat viable as maybe like a 70s-80s Classic Hits-like format, though. Commercial viability isn't really my aim for that. I'm doing the Part 15 for fun.

I think your best move, with the lowest risk, is to keep doing that and solicit comments---not so much "do you like this?" as "if we could get a signal, would you support this through donations?".

You're probably right. If I can get some donations coming in semi-regularly, perhaps I can afford to get licensed so I can stream it legally (I have several friends who would love to listen, but they're too far away to receive my signal OTA).

Start making friends at all the smaller non-comms in the area and ask about the costs of operations.

I'm actually near KPFZ 88.1 in Lakeport. Maybe you've heard of them? They're relatively new, having only been on the air for maybe 15 years or so.

I've heard good things about them, so maybe I'll check them out.

Getting your own non-comm is a long road.

Yes, it is. I actually looked into getting an LPFM license back in 2008 or so, but decided against it because it was kind of confusing and expensive, and I'd have to set up a nonprofit organization, which I'm not too keen on (can an individual apply for and be granted an LPFM license?)

You might want to see if there's an existing non-comm that has a few hours a week that they'd be willing to let you program.

This is probably the more practical way to go.

c

 

[K.M. Richards]

Yes, it is. I actually looked into getting an LPFM license back in 2008 or so, but decided against it because it was kind of confusing and expensive, and I'd have to set up a nonprofit organization, which I'm not too keen on (can an individual apply for and be granted an LPFM license?)

That one, I can answer.

LPFMs cannot be licensed to individuals.

 

[cc333]

That one, I can answer.

LPFMs cannot be licensed to individuals.

I suspected as much, but I couldn't remember.

c

 

[michael hagerty]

I had forgotten the LPFM requirements. You could start an eligible foundation, but like I said...it's a long road and dipping a toe in the water on someone else's LPFM might be the simplest approach.

 

[cc333]

Just posting here to keep the thread alive

I'm still researching and practicing, and thinking about the advice I've gotten here.

c

 

[cc333]

I had forgotten the LPFM requirements. You could start an eligible foundation, but like I said...it's a long road and dipping a toe in the water on someone else's LPFM might be the simplest approach.

Agreed.

I'm contemplating volunteering at the local LPFM (88.1 KPFZ), but I'm not sure if I want to given the politics around here.

c

 

[bobdavcav]

All of this kind of reminds me of my own experience. Everything I know about programming is self-taught. Last summer, I attempted a Classic Hits format which needed a lot of work. This summer, I came back with a Hot AC format that uses a similar clock. I discovered I like that clock, but need a lot of help with imaging, and would rather have someone else execute the on-air mic breaks.

 

[cc333]

All of this kind of reminds me of my own experience. Everything I know about programming is self-taught. Last summer, I attempted a Classic Hits format which needed a lot of work. This summer, I came back with a Hot AC format that uses a similar clock. I discovered I like that clock, but need a lot of help with imaging, and would rather have someone else execute the on-air mic breaks.

This is exactly where I'm at. I'm happy to just play with the music and leave the VT and imaging work to someone else (although I'd be lying if there wasn't at least a tiny part of me that feels tempted to hook up a mic and have some fun with it).

Would you mind sharing your clock? Once I figure out how to work with clocks, I'd like to see if I can adapt something like yours to the format I'm aiming for (basically a sort of soft rock/classic hits hybrid with some 50s/60s oldies and standards thrown in), and then execute it.

c

 

[bobdavcav]

My clock was based on spin data from stations I was listening to over a few months in 2022 with some modifications. Over an eight hour period, powers got six spins, next was three, then two, then one. So, the clock ended up being 6, 3, 2, 2, 1, then 6, 3, 2, 1, 1.

 

[davideduardo]

My clock was based on spin data from stations I was listening to over a few months in 2022 with some modifications. Over an eight hour period, powers got six spins, next was three, then two, then one. So, the clock ended up being 6, 3, 2, 2, 1, then 6, 3, 2, 1, 1.

There is a lot more to the relationship of clocks to programming.

Clocks are a roadmap. Before you can map the roads, you have to build those roads. That means rotations, categories and how each interacts with the others.

Rotations are based on data on how much time listeners spend with radio and your format. Then they have to be based on not repeating the same patterns horizontally (previous day, next day, etc) and vertically (how often and how you prevent the same songs in a listener's PM drive t hat they heard in AM drive, etc.).

Of course, you have to have some criteria for the inclusion of songs in each category. Why should some songs play more often than others? When does a song change rotation? When is is eliminated? Do any competitors play at least some of the same songs as well? Are there some "national hits" that just don't fit the characteristics of my audience in my market?

Each format, based on considerations like these, may have different rotations. On a major market CHR you might have a couple of powers play every 90 minutes, but in a different format, powers might come up every 2½ to 3½ hours instead. In an AC format, perhaps there are no powers and the currents play once per daypart.

 

[bobdavcav]

All fair points, and my micro-format did not get that detailed. What I built was intended to be something that ran for eight hours then disappeared. So, that level of detail wasn't something I was paying attention to. I will admit that a listener hearing hour 1 would wonder if it was a stunt loop if they tuned in hour 5 but then would likely think "Oh wait, that song wasn't there in the other hour." I did work hard on artist separation. That being said though, I don't think 64 titles over 8 hours is an accurate representation of where my programming philosophy works and where it breaks down.

 

[b-turner]

The art of programming begins with creating a format for the listener, not yourself. If you can create a format for your target audience even if it's not your cup of tea, you pass the test. I look at it this way: we are hired to do a job with certain perameters, If we can do that successfully, we continue to get a paycheck.

 

[michael hagerty]

What @b-turner said, plus (and this isn't meant to be derogatory)---

If all you're doing is scheduling songs, you're building a smartphone playlist, not creating a radio clock.

A clock needs to take into account other programming elements (including and especially commercial breaks) with an eye toward creating, sustaining, and regaining momentum. You also need to create that clock with knowledge in hand as to how your target audience uses radio---how often they're tuning in, how long they're staying, etc (your clock can affect how long some of them stay, but not by much).

If you're looking for a perfect balance of tempo and intensity, but your audience tunes in and wants a mood elevator, you may be taking too long to deliver that.

Even as early as 1977, programming A/C, I found it was too easy to bog down and went to two ballads an hour. Of course, five years later, Mary Catherine Sneed and Jhani Kaye at KOST stood that equation on its head and re-invented A/C. My audience (55% male/45% female) in Reno wanted upbeat attitude and music. Theirs (55% female/45% male) in Los Angeles wanted megadoses of emotion.

It's all about why your audience tunes to you. The clock is the tool by which you deliver on the expectation.

 

[Identnut]

I'm probably never going to program professionally, but my radio geekery has led me to building playlists for the fictional radio stations in my Lego City.

It's not meant to be perfect - it's acknowledged in canon that the guy in charge of building the city and making everything behind it is not an expert, but the thought process of a PD has bled into my mentality behind these things.

A station that I'm working on is the Asian pop station, which I was aiming for 40% K-Pop, 40% J-Pop, and 10% OPM and others. I lifted most of the K-Pop songs from KUCD in Honolulu, a station I love and that's run by the iHeart machine.

J-Pop I have been struggling with because of the broadness of Japanese radio stations. Formats basically don't exist over there and playlists are a mess. I've taken many songs from J1Radio, a source that plays music instead of talk and purports to play the music Japanese radio plays, but I still worry I'm playing a lot of stiffs.

OPM I am very cautious about. My main source is Tag 91.1 in Dubai, a diaspora station like mine is supposed to be. But a lot of OPM is sentimental, very AC stuff that doesn't go well next to BTS and TWICE. So a song either has to be P-Pop (like BINI or SB19), R&B (like Hev Abi and Dionela), or just an unignorable big hit ("Multo" by Cup of Joe or "Pag-ibig ay Kanibalismo II" by fitterkarma") to be played there.

So yeah, this station might never exist in real life, and if it did, it would probably only play the K-Pop side. But this is meant to be halfway between a real radio station and like, a radio station in a GTA game. You get me?